SAN LAMP
By YUXUAN HUANG
Yuxuan Huang transforms discarded antique furniture and traditional Chinese craft techniques into contemporary lighting and furniture that preserves material memory. Working from her Brooklyn studio, the Chengdu-born designer deconstructs thrifted 18th and 19th-century pieces into raw components, then reassembles them into minimalist forms that honor both past and present.
Her recent expansion into lighting applies traditional Chinese kite-making and lantern-making methods using bamboo armatures and hand-painted Mashi paper. Through materials like shellac, mineral pigments, and salvaged wood, she creates what she calls “archaeology in reverse,” where forgotten objects gain new life while carrying traces of their original stories forward.
SAN LAMP
$320
By YUXUAN HUANG
$320
Two strangers meet in a light rain and share an umbrella. They hide under the eaves, silent in the misty air, waiting for the rain to end. On their arms, fine hairs seem to breathe and brush against each other in quiet rhythm. When the rain stops, they leave without a word—yet both will remember that damp, silent moment, and the blurred shadow they never clearly saw.
Yuxuan’s signature hand-painted Mashi paper shade draws from traditional Chinese lantern-making techniques, coated in natural shellac and paired with a chrome-polished steel base. Limited to 25 signed pieces, the portable form is designed to add a gentle glow and touch of color to a lovely dinner, quiet reading, or friendly gathering.
DIMENSIONS
12″H × 8″W × 8″D
MATERIALS
PAPER, BAMBOO, SHELLAC, PLATED STEEL
MADE IN
NEW YORK
ABOUT THE DESIGNER
Yuxuan Huang transforms discarded antique furniture and traditional Chinese craft techniques into contemporary lighting and furniture that preserves material memory. Working from her Brooklyn studio, the Chengdu-born designer deconstructs thrifted 18th and 19th-century pieces into raw components, then reassembles them into minimalist forms that honor both past and present.
Her recent expansion into lighting applies traditional Chinese kite-making and lantern-making methods using bamboo armatures and hand-painted Mashi paper. Through materials like shellac, mineral pigments, and salvaged wood, she creates what she calls “archaeology in reverse,” where forgotten objects gain new life while carrying traces of their original stories forward.